PANTALONE and ARLECCHINO enter. Pantalone berating Arlecchino about something, beating him a few times, eventually chasing him off stage. Enter GRATIANO, who wants to ask a small favor: he wants Pantalone to lend him some money so he can buy an astrology book. Pantalone refuses until Gratiano mentions that this book will enable him to make more precise astrological predictions; Pantalone picks up on the business possibilities. Agrees to loan him the money. Exit both.
ORATIO and PEDROLINO enter, Oratio wearing a red hat. Oratio bemoaning his fate, to be in an arranged marriage with a woman he doesn't love. Pedrolino says that his father will catch them eventually. Oratio comes up with the idea of finding his true love and marrying her before his marriage with Laura. Pedrolino suggests he goes door to door, not seriously; Oratio takes him seriously, and determines to look for someone to marry. He takes off his hat to wipe his head, hands it to Pedrolino. Pedrolino accidentally drops the hat, leaving it on stage; both exit.
ARLECCHINO enters, on an errand. Finds hat, tries it on and decides it's not his, since it doesn't fit. Decides to find its true owner. Enter ISABELLA and CLARICE, discussing men and her latest disaster. Arlecchino tries the hat on them, decides it doesn't fit; they exit, telling Arlecchino to get back to work. Enter PRIEST. Arlecchino tries the hat on priest; it doesn't fit either. Priest asks where Isabella is; Arlecchino points the way. Priest exits.
Abstract Commedia Dell’arte scenario
Commedia dell'arte, performance improvised upon a scenario by itinerant Italian professional players from the mid‐sixteenth to the late eighteenth century, has continued to live on in memory primarily due to the extensive iconography of it. Commedia dell'arte widely influenced the arts of the twentieth century. And presently a considerable number of performance groups are inspired by it. Increasingly scholars have discovered and learned to make use of the extensive documentation of the commedia dell'arte other than its iconography. I here review a new edition of commedia dell'arte scenarios, two scholarly works, both of which set the form in a context of rhetoric, and two new performance guides. Finally, I compare and contrast commedia dell'arte to Chicago long‐form improvisation
“Commedia dell'Arte: characters, scenarios, and rhetoric.” Taylor & Francis, www.tandfonline.com/doi/abs/10.1080/1046293042000239438?journalCode=rtpq20.
The Red Hat: A Commedia dell'arte scenario
Small section of this Commedia Dell’arte scenario
PANTALONE and ARLECCHINO enter. Pantalone berating Arlecchino about something, beating him a few times, eventually chasing him off stage. Enter GRATIANO, who wants to ask a small favor: he wants Pantalone to lend him some money so he can buy an astrology book. Pantalone refuses until Gratiano mentions that this book will enable him to make more precise astrological predictions; Pantalone picks up on the business possibilities. Agrees to loan him the money. Exit both.
ORATIO and PEDROLINO enter, Oratio wearing a red hat. Oratio bemoaning his fate, to be in an arranged marriage with a woman he doesn't love. Pedrolino says that his father will catch them eventually. Oratio comes up with the idea of finding his true love and marrying her before his marriage with Laura. Pedrolino suggests he goes door to door, not seriously; Oratio takes him seriously, and determines to look for someone to marry. He takes off his hat to wipe his head, hands it to Pedrolino. Pedrolino accidentally drops the hat, leaving it on stage; both exit.
ARLECCHINO enters, on an errand. Finds hat, tries it on and decides it's not his, since it doesn't fit. Decides to find its true owner. Enter ISABELLA and CLARICE, discussing men and her latest disaster. Arlecchino tries the hat on them, decides it doesn't fit; they exit, telling Arlecchino to get back to work. Enter PRIEST. Arlecchino tries the hat on priest; it doesn't fit either. Priest asks where Isabella is; Arlecchino points the way. Priest exits.
Abstract Commedia Dell’arte scenario
Commedia dell'arte, performance improvised upon a scenario by itinerant Italian professional players from the mid‐sixteenth to the late eighteenth century, has continued to live on in memory primarily due to the extensive iconography of it. Commedia dell'arte widely influenced the arts of the twentieth century. And presently a considerable number of performance groups are inspired by it. Increasingly scholars have discovered and learned to make use of the extensive documentation of the commedia dell'arte other than its iconography. I here review a new edition of commedia dell'arte scenarios, two scholarly works, both of which set the form in a context of rhetoric, and two new performance guides. Finally, I compare and contrast commedia dell'arte to Chicago long‐form improvisation
Woks Cited:
The Red Hat: A Commedia dell'arte scenario. (n.d.). Retrieved October 22, 2017, from http://math.bu.edu/people/jeffs/scenario.html
“Commedia dell'Arte: characters, scenarios, and rhetoric.” Taylor & Francis, www.tandfonline.com/doi/abs/10.1080/1046293042000239438?journalCode=rtpq20.